Cindy's adventures, on and off the stage!

12/28/2017

You can't, but you can look ahead and dream. You can fantasize about what you want the future to look like, what you want to take with you as you move forward, and what you want to leave behind. What you should leave behind.

2017 has been a very stressful year for many of us; but it has not been without its joys and its triumphs. My newest team member, Tony Howell, a self-styled Digital Strategist, has a wonderful tool for helping us reflect, celebrate, and connect, and then turn that into a positive bit of personal marketing. It takes you out of your comfort zone --- which is a good thing --- and challenges you to share in what may be a new way. Read his blog post and then sign up for his mailing list --- you'll want to get in on Tony's savvy marketing and branding tips!

I often help my musician clients to create business plans and encourage them to check in often, to help them stay accountable for their self-created goals and deadlines. Reflecting on your past year is a great way to kickstart and refresh your plan for the next! And, you will also gain some perspective.

When I sat down to do this exercise, I was startled to see that I could not list a major milestone for every single month of the year, and this was, at first, upsetting.

It wasn't that I didn't have some pretty major milestones --- a role and company debut which got very good reviews; organizing a sold-out citywide rally which featured a Congressman as the main speaker; interviewing a major star; running the 11th season of the opera training program I founded, including directing two shows; being named Artist in Residence to the Hurley School of Music at Centenary College of Loiusiana. But we singers are trained to subscribe to the "what have you done for me lately" model of thinking, which can be motivational, but also extremely destructive.

I looked at my list and my feelings about it and realized that the "blank spots" weren't blank at all. The accomplishments are the glitter, the red carpet, the glamour. But they wouldn't exist without the blank spots. Those spots represent the elbow grease, the decidedly unglamourous grind we go through to produce those moments of sparkle that we all live for. I should, I realized, be prouder of the dates on my list where I couldn't point to some big accomplishment, because that is where I was living my life, doing my work, preparing for the rewards.

The other thing I learned via this exercise is what I want more of in my life, and what I want less. This helps me think ahead and begin to strategize, not only about how I want 2018 to look, but how I want my whole life to look moving forward.

So, some big changes are coming. One of them is my brand new website, CindySadler.com, which will debut in February 2018, complete with new photos in NYC. Sign up for updates at CindySadler.com.

And then, grab a pen, sit down for a few minutes in a quiet place, maybe with a comforting cup of something hot and delicious, and take some time to do Tony's reflection and celebration exercise. It's a great gift to give yourself and your business to end the old year and start the new one.

11/08/2017

On Sunday, a young white man who had been court-martialed and dishonorably discharged for spousal and child abuse donned tactical gear, grabbed his legally obtained Ruger AR-556 rifle, and murdered 26 men, women, and children in cold blood as they worshiped in their church in tiny South Texas community. The president of the United States tweeted that the man was suffering from "mental health issues" (a diagnosis exclusively reserved for white males who act violently against society).

This fragile young man was suffering, all right, but not from mental health issues. He was suffering from toxic masculinity. It's an epidemic in this country. His ego was so fragile, his sense of entitlement so enormous, his capacity for bearing a grudge so bottomless, his resources to manage his emotions so underdeveloped, that he lashed out. First, he lashed out at his wife and child, and when they were removed from his reach and he was forced to face the consequences of his actions, he lashed out at innocent people.

This is not an isolated incident; he is not an outlier. This is the horribly logical outcome of the hellish stew of evil and misery imposed by patriarchy and consumerism, and our buy-ins to them. Misogyny, racism, sexism, the active war on the middle class designed to make the rich richer and more powerful and everybody else into a serf class --- it's all tied together.

There's an important question we need to ask ourselves, always ask ourselves, when presented with anything we are being sold, whether it's an item of clothing, a new car, a doctrine, a political agenda, a business plan. That question is, who benefits from this?

Who benefits from toxic masculinity, which is a byproduct of patriarchy? Men sure don't, though it may seem on the surface like they do. Sexism and misogyny are necessary to the patriarchy, because any power structure is built on some people having more than others; and the best way to do that is keep the weaker parties weak and dependent. Think about all that goes into keeping women "in their place": religious decrees (because who can fight with an all-powerful God, right?). An absurd emphasis on appearance, including unattainable beauty standards such as a specific body type and illusion of youth. An equally absurd set of standards in which women must be sexually attractive and available on demand to any random man, yet remain "pure"; and in which women are largely held accountable for microaggressions, harassment, and violence committed against them or else disbelieved. The list goes on and on, and people of color face a similar society-enforced list of contradictory and cruel standards and mores designed to keep them, too, "in their place".

But sexism goes both ways, and men pay a very high price for their privilege. Yes, the balance of power is on their side, and they get away with a lot of horrible stuff, but they do pay, especially decent men. They pay by having the enormous pressure and responsibility to be strong, physically and mentally; to be the providers, the leaders, the stoics, the winners. And society sets up an impossible image of what that is supposed to look like --- as impossible to achieve as the perfect image it requires of women. Real men are supposed to make a lot of money, have nice cars, have sex with lots of beautiful women, attract "hot" wives. They're supposed to like sports and other designated "manly" pursuits. They're supposed to be ruthless in business. They're supposed to be good at whatever they do.

And when they are not inclined to those things, or not successful at them, society makes them suffer --- but they are not supposed to show their pain (stoicism, remember?). They often pay with their health, even with untimely death, when the stress adds up or stoicism keeps them from seeing a doctor when they should.

Some men aren't strong enough to handle this abuse. Some men turn to substance abuse to self-medicate the pain away. Some men turn it outward and become rage-filled and abusive themselves. Some men beat their wives and children. Some men rape. Some men obtain guns and murder people.

Who benefits from the patriarchy? The answer is: anyone who monetizes it. Anyone who uses their power and profit not just to get ahead honestly themselves, but to keep others down. Anyone whose product inflicts pain and suffering on others. The NRA cloaks itself in patriotism; the Stars and Stripes in which it is swathed covers up hands drenched in the blood of Columbine, Sandy Hook, Sutherland Springs, and a thousand other avoidable shootings. They've done a great job of selling guns by keeping their adherents scared and angry and unwilling to consider alternate paths to safety. The same right wing government that blames those shootings on mentally unstable individuals or, in the case of people of color, on thuggism, cuts funding for education, programs that benefit the most underserved and needy among us, health services, and anything that would help the poor or the struggling middle class --- and who benefits? The politicians and the rich. Those in power. The media --- especially cheap and tawdry entertainment like gossip rags, so-called reality shows, heavily manipulated "competitions"; magazines, tv shows, and movies that present as reality an outrageously glamorous lifestyle and physical look that the average person has no hope of attaining; "news" programs that focus on the antics of celebrities and sensationalism over good, old-fashioned reporting --- all of these profit from distracting us, making us feel bad about who we are and what we have or don't have, and reinforcing harmful patriarchal stereotypes to do so.

And this brings me to the theater --- specifically to opera, which in its traditional form is rife with the diseases of the patriarchy. Women suffer greatly in opera, although they may be glorified for it. Women who act outside the norms assigned to them by the patriarchy are always punished, and almost always pay for it with their lives, in opera. And they are almost always depicted through the male gaze. Carmen, the independent Roma woman whose sexual appetite and casual attitude towards romance earns her a death by stabbing when she chooses, then rejects, the wrong man, is usually seen as an unsympathetic character, a temptress who has it coming. Meanwhile her murdering, abusive, temperamental stalker boyfriend Don Jose is viewed as a good man led astray by a bad woman. Turandot is an icy-hearted bitch with no regard for human life until Calaf (obsessed enough with a woman's looks to risk his life for her) forces a kiss on her --- it couldn't be that he wants the throne and she wants her independence. Brunnhilde is punished by her father Wotan for acting independently (one could even say for being true to her hard-wiring and mission as Wish Maiden by granting the fervent desire he could not himself accomplish) with the loss of her power and independence, being left helpless and open to rape and forced marriage. Don't even get me started on Magic Flute or Cosi.

Anna Caterina Antonacci as Carmen and Andrew Richards as Don Jose in the Opera Comique's Carmen. Photo by Pierre Grosbois.

What does this have to do with the harm patriarchy inflicts on society? It romanticizes bad behavior and reinforces prejudicial tropes and stereotypes. A short time ago, I read a touching blog post in which a man explained why some men might not understand "no means no." I wish I'd bookmarked it; I can't remember where I found it. The writer referred to the movies of his childhood, specifically Star Wars, in which the heroic and sexy Han Solo forced attention on the beautiful Princess Leia, who kept telling him "no" until he overcame her objections with physical force and she was swept off her feet. This was presented as romantic. This was presented as what women wanted deep down.

This trope has been presented to us over and over and over again, literally for hundreds of years. Men must conquer, women will yield and admire them for it.

It's sick.

So what do we, as interpreters of the great works, do? How do we -- can we --- continue to perform these works, knowing the harm they do to society?

As performers we must carefully analyze the characters we will portray with special attention to how we can play against stereotypes. Mezzo-soprano Stephanie Blythe is a world-class artist who regularly smashes character stereotypes with her sensitive interpretations. She is one of my artistic heros --- creating a Fricka who is sympathetic rather than the shrew she's often seen to be; a Katisha who manages to be cute and human despite being created as a trope of the old, ugly termangent with whom marriage is a fate (almost) worse than death; a sexy Carmen who isn't a size 2. She is famous in the business for refusing to allow her size to be an issue, and certainly will not allow any onstage jokes to be made about it. (As her cover in the aforementioned Mikado, I once witnessed her gently but firmly warn off a stage director who seemed to be headed in that direction. He hastened to assure her that wasn't his intention)!

Recently, I had the opportunity to play The Mother in Menotti's The Consul. At first glance, I did not like her very much. I found her to be on the whiny side, obsessed with her age and with death. Written by a middle-aged Italian man, I felt she represented his view of a worried, fussy, world-weary old nonna who has "seen too much blood, too much betrayal". That certainly is one way to play her, but with the guidance of our wonderful director, Gary Briggle, I found a more palatable version The Mother, which reflected her strength, wisdom, and power, and made her tragedy that much more palpable and real. As actors, we have options --- even if we aren't headlining at the Met.

As stage directors, we have a responsibility to the composer and librettist, but also to our audiences. In the opera world, when we are frequently dealing with works written in previous eras, we often change small details to make them more palatable or comprehensible to modern audiences, who may not have the same frames of reference as those they were written to entertain. In America, at least, we also change racist libretti. Two common examples:

In Mozart's The Magic Flute, the villain Monostatos (originally a black slave) stands over the sleeping heroine Pamina, who he will shortly attempt to rape, and sings:

The former lyrics are almost always changed to avoid racist content, although the latter usually stand; and in singing translations the original lyric is completely ignored.

Greg Fedderly as a creatively costumed and made up Monostatos in San Francisco Opera's Magic Flute. Photo by Cory Weaver.

In The Mikado, the Lord High Executioner (and town tailor) KoKo's most famous aria, "I Have a Little List", contains the n-word as part of a suggestion that certain women should be punished for their vanity by having their faces stained black with walnut juice. This, too, is always excised from performance.

If we can make changes like these, to avoid obvious racism, we can also make changes to avoid other offensive content. We can make a concerted effort to cast a light on characters that are traditionally perceived in unflattering ways simply because that was the view society took at the time.

As producers and administrators, we can encourage new works that show modern life realistically and address modern concerns of racism, sexism, homophobia, and "otherness". There are many, many worthy contemporary operas being commissioned and performed. We can encourage women composers and librettists and conductors and stage directors. We can educate our audiences. We can make our works available to the young and the underserved and defeat the vision of it as an elitist art form.

As audience members, we can actively encourage our local opera producers to give us casts that reflect a wide range of ethnicities, ages, body shapes and sizes. We can demand contemporary opera be added to the mix of traditional, and that traditional productions address offensive stereotypes.

Our society is sick to the core, and it's not going to heal with more guns, more violence, more hate. It's not going to heal by buying more stuff or buying into the idea that we have to look a certain way or own certain things or drive a certain car or live in a certain neighborhood, and if we do, we're better than those who don't. Right now, we are all behaving like frightened, abused dogs --- snapping and growling at each other, building up to a fight. Each of us has to learn how to gently, calmly, lovingly hold out a hand and bring each other back into love. And this is one of art's highest callings --- healing. Creating, performing, and sharing art is an act of love and healing. We can use it to reach those who are hurting; we can use it to show young people that there are choices and dreams worth striving for beyond what they may see around them; we can use it to create dialogue and change in our society.

Grab a thread and start unraveling. Better yet, grab a needle and start building something better.

10/16/2017

Sexual harassment and assault are big news at the moment. Apparently it takes a very high profile case, something salacious and gossipy enough to catch the imagination of the public at large, to start a national conversation. It takes a Harvey Weinstein or a Bill Cosby, the very public downfall of a very public figure.

Opera is not in the public eye the way Hollywood is, but we have our own deeply entrenched rape culture. It affects both genders and it is a real and hideous problem. Last year, working on behalf of an online group of American opera soloists, I collected stories from hundreds of colleagues to deliver to AGMA, our union, to encourage them to take a stronger stance on sexual harassment in the workplace. The late Alan Gordon, then Executive Director, was deeply horrified by these stories; he told me that he had had no idea there was so much harassment going on. As a result of this report, AGMA established a confidential system which allows members to report incidents, even if they do not want to come forward and pursue it legally. The idea is that AGMA will collect these stories and reach out to opera companies when they see that a predator has been hired. There is little else they can do if the singer is not willing to publicly name names.

Often the youngest, most vulnerable members of our profession are the ones most deeply affected. Young Artists are in the precarious position of being new to the profession, desperate not to take any wrong steps as they work to establish themselves, and at the mercy of unscrupulous people who use their power and position to take advantage. I will never forget a fellow apprentice approaching me backstage and saying, "Maestro just grabbed my ass. I don't know what to do. Should I report it?" She didn't. Too afraid of what it would mean for her career. I also witnessed, in a rehearsal in full view of the general director of the company, cast, and chorus, a stage director making inappropriate comments to the female apprentices about their bodies. No one, including myself, said a word. I did later speak to the apprentices and was told he did this on a regular basis, but they didn't know what to do about it. At the time, I didn't, either. Like others, I was too afraid to speak up.

It's not just young artists that this happens to, and not just women. A (male) conductor friend was assaulted by a (male) board member at a party. Another male friend was told by a well-known producer, "You're so handsome. I bet you and your boyfriend are just so beautiful together." There was a coach in a program I did who was famous for putting men's hands on his crotch under the pretense of seeing what kind of "reach" they might have on the piano.

Luckily for me, I have not experienced sexual harassment or assault in a professional environment, though I have many, many times in my personal life, beginning at age 10. Most of the incidents were harassment --- catcalls, guys following me through the subway or on the streets yelling stuff, demanding I smile and calling me a bitch or worse when I didn't; teenage boys snapping my bra strap and trying to throw things down my shirt; grown men saying suggestive things to me when I was a very well-endowed 11-year-old. But I've also been groped by strangers, dry-humped on a crowded subway car, pinned against the wall in a dark and isolated storage room by the husband of an employer.

And that's just me. As a child, I saw my mother groped in public. Five women (that I know of) in my circle of friends have been raped, some repeatedly by different assailants. I don't know any woman who has not been harassed or assaulted.

We can't ALL be exaggerating, "crazy", "too sensitive", "can't take a joke", "wanting it", "asking for it", can we?

So, how do we stop it? How do we , in the classical music industry, put our own house in order? Here are some ideas, and I welcome you to add your own in the comments.

Companies --- if it's not already, a policy statement on harassment should have a prominent place in your welcome packet and in your address to the company on day one of rehearsals; and it should be rigorously enforced. This includes taking initiative when you witness it or believe harassment has occurred --- not waiting for a complaint, but privately addressing the individual to hear their story and find out what, if any, action is required. It means letting the individual know you've got her back, are dealing with the offender, and are actively keeping an eye on the situation to make sure she is safe. It means talking to your board members and your staff to let them know artists and especially young artists are off limits and bad behavior will not be tolerated. It means educating and empowering your young artists and not putting them in vulnerable situations.

I love Dayton Opera's policy statement: "The Dayton Opera maintains a pleasant and productive work environment, and verbal abuse will not be tolerated. Abusive language includes racial, sexual, ethnic, or other ephitets as wella as profanity when directed at any company member... Sexual harassment in the workplace is a violation of state and federal law. Sexual harassment or intimidation is defined as unwelcome sexual advances and other verbal or physical contact of a sexual nature which is presented as a term or condition of employment, which interferes with an individual's work performance, or which creates an intimidating, hostile, or offensive working environment. Dayton Opera will not tolerate such behavior."

Men --- Call. It. Out. Right then, right there, out loud and in public. That includes not only sexist or harassing comments, but gaslighting, which is possibly even worse than the comments themselves. "Aw, can't you take a joke?" "You're crazy, I didn't mean it that way." "You're so emotional!"

Listen to a woman when she says someone or something made her uncomfortable and don't make excuses for someone else's bad behavior.

Amplify women's voices on these matters.

Check yourself. Review your own behavior. Ask yourself if you've ever insisted on attention from a woman who didn't want to give it, ever catcalled, ever snapped a bra strap, remarked on a woman's body publicly, told a woman she's crazy or too sensitive or can't take a joke when an incident goes down, laughed and made with the guys when a woman walks by. Ask yourself if you've ever done anything worse. Better yet, ask the women in your lives. It's very uncomfortable, but the exercise is not intended to make you feel guilty. It's to help you understand, really see the problem, and start making a real difference.

And, BTW, these "guidelines" are not just for men, but for ANYONE who sees bigoted or harassing behavior --- whether it's against women, or LGTBQ, or POC.

Women --- First and foremost, SUPPORT OTHER WOMEN. Don't body shame, don't talk trash about their outfit, hair, or makeup. That sort of BS feeds into rape culture in a big way and besides, it's tacky as all get out. (Yes, I've been as guilty of it as you have. And I've stopped).

Don't call other women "sluts" or "whores". Don't police other women's sexual behavior. Women can be just as bad as men about trashing other women. Stop it.

Be there for your friends. If someone tells you they've been harassed or assaulted, treat them like you think you'd want to be treated. Listen to them. Believe them. Get them medical help (that includes mental health help, if needed). Speak on their behalf if they want you to. Stand up to the abuser if you can. But most importantly, take your lead from them.

And if it's happened to you --- don't blame yourself. I can't say it any better than Rachel Flynn, a friend of a friend who posted on Facebook:

Everyone --- Call any harassment, bullying, or assault out --- no matter who is the victim, no matter what type of abuse it may be. Sexual, racist, homophobic--- if we want a better society, we have to squelch bigotry of all kinds and excise it to the greatest extent possibly from our culture.

Teach your kids body autonomy. Teach them the correct names for their body parts, and teach them that their bodies belong to themselves. Don't force them to touch people or accept touch if they don't want to ("Come on, give Aunt Flo a kiss!").

Teach your daughters that their value is in their minds and souls and work ethic and how they develop and use their talents and how they treat other people ... not in their appearance. Teach them that no one has a right to place limits on them because of their gender or the way they look. Teach them that men are not there to be toyed with or manipulated. Teach them that the responsibility of supporting a family is to be shared with their partner. Teach them that masculinity is not defined by stoicism, and that it takes many forms.

Teach your sons the same thing, and teach them that women are not there for their entertainment and do not owe them anything. Teach them that women's bodies are not there for them to comment on or touch unless invited to do so. Teach them to stand up to their less educated friends. Teach them that it's okay for them to cry, to be scared, to not want to play rough sports, to like and to do things that society at large considers "feminine". Teach them that the responsibility of supporting a family is to be shared with their partner, and that their worth is not defined by how much money they make.

We all can do better. We all can change. It starts with recognizing and speaking out, followed by action. You can make a difference.

12/21/2016

Much has been made in the professional music community of the question of who will and will not perform at the Inauguration. Rumors are swirling amid much speculation. We know that Sir Elton John, touted as a headliner early on by the rumor mill, has categorically denied involvement, and while many other well-known names have come up in connection with inaugural festivities, the facts surrounding them remain hazy, except in regard to two performers: the teenage America's Got Talent star Jackie Evancho, and Italian popera tenor Andrea Bocelli.

Evancho is confirmed to sing the national anthem at the inauguration and seems unfazed by criticism for her choice to perform even though she has a transgender sister who is poised to suffer from conservative policies. Bocelli, who initially agreed to perform a duet with the child star, has bowed out of his commitment due to the backlash from his fans, including a social media movement to boycott the star if he sang.

It's even being reported that DC area marching bands, normally a mainstay of such national celebrations, are staying away.

Couple these incidents with the recent hoopla over the Hamilton cast's address to Mike Pence, and one finds a lot of discussion about the place of artists in politics; and the side of the argument one is on seems to frequently align with who one supported in the election. I have seen a great deal of name-calling on social media and in comments sections; along with assertions that artists should "do their job", keep their mouths shut, and dance monkey dance; and criticisms of the fans for being "narrow-minded" and "forcing" decisions on the part of artists. Even the president-elect famously characterized the Hamilton cast as "harassing" Pence because they addressed him from the stage.

As artists and private citizens who have to live and work in these turbulent times, we must consider our positions on these matters. They are moral decisions, but they are also oftentimes business decisions. Here are my thoughts.

We artists are not performing monkeys.

As artists, we are entitled to conduct our business with integrity, according to our own values, and we are not obligated to hire out our private services to individuals we find reprehensible. I am not going to use my talent to entertain someone who is actively seeking to injure the people, the nation, and the way of life I love; nor should I be required to.

Public and private affairs are different matters. If I am hired by an opera company to perform a role or a concert, my services are offered to the general public, and I have no say about who is in the audience. It is my duty to offer my best to ALL audience members without regard to their personal or public lives. However, I would be entirely justified in refusing to offer any special courtesies as are often extended, such as meeting certain patrons after the show or attending a private event with them.

But if I am asked to perform specifically to honor a certain person or to entertain them at a private function, I have every right both as a professional and a private citizen to turn them down on the grounds of disagreeing with their politics, actions, or beliefs. Also, I have every right as a professional to make what I believe are good business decisions; including choosing my engagements; and as a consumer I have a right to boycott private providers of goods and services who do not reflect my values, as long as it is not discriminatory. We are all free to make choices, but choices are not free from consequences, and we have to make the best we can according to our consciences and values.

A respected friend and colleague asked me a very good question --- how is refusing to perform for people we disagree with any different than a bakery that doesn't want to make a wedding cake for a same sex couple? The difference is discrimination. Refusing service to an individual based on their actions is not discrimination. Refusing service to a class of people based on who they are is.

Public accommodation* is also a consideration. Federal and state law prohibits discrimination against race, color, religion, disability, and national origin in most (but not all) businesses and buildings that are open to the general public, whether they are publicly or privately owned. So places like bakeries, parks, hotels, restaurants, public hospitals, transportation systems, retail stores and yes, performance venues, are forbidden by law to discriminate, regardless of the business owner's personal beliefs.

However, performers themselves do not fall under the description of "public accommodation" and may execute discretion in deciding to whom they will sell their services.

A conservative friend and colleague offered these challenging questions: would I be okay with it if an opera company refused to hire me because a company I am boycotting is one of their corporate sponsors? Would I be okay with if if a donor asked that I be blackballed because a statement I made in my private life offended them?

My answer to this no, I would not be okay with it, and given the opportunity would be able to defend my point of view vigorously. These situations are not the same as the one faced by artists like Bocelli in being pressured to eschew performing for an individual his fans find objectionable. (And here, let me state for the record that I personally have been subjected to pressure and threats against my career, quite publicly as well as privately, by strangers who disapproved of a production I was scheduled to perform in; so I do understand the dynamics). As an employee of a company in a production which will be presented to the public, I would not bring my personal politics into the professional arena, any more than I would expect the opera company to take a political stance. My involvement in the production is politically neutral and does not indicate approval or disapproval of corporate sponsorship because it involves a public event, as opposed to a private one. It is quite typical in our business to "tone it down" for the sake of professionalism and the harmonious conduct of business. And as for donors, any artist can tell you that we already tiptoe around them and already are subject to being out of work if a big contributor dislikes us for any of a myriad of reasons.

Finally, to address the issue of whether artists should use a professional platform to advance personal agendas, i.e. addressing public officials or private individuals from the stage. It's a bit more complicated, and depends on many factors, so bear with me.

To a certain degree, the same concept of public vs private applies. As previously stated, if you are part of a public performance and are there as an employee, your employer has a right to demand a certain standard of conduct from you, and spontaneously addressing the public from the stage on a private matter probably does not fall within acceptable parameters. However, if the company has agreed to allow you to make a statement, that is their prerogative and there's nothing wrong with you, the artist, taking advantage of the situation. For example, for decades it has been standard practice for casts of Broadway shows to give curtain speeches in which they solicit funds for organizations that support AIDS research and services --- no doubt offensive to some theatergoers --- but nevertheless sanctioned by the company and therefore legit.

In the case of the Hamilton cast, they had the approval of the company and the show's author; and they did not in fact advance an agenda; they merely took advantage of the presence of a public official to respectfully voice some concerns and request that he take them into consideration --- in no way harassing him (their curtain speech has been conflated in many quarters with the fact that some patrons --- private citizens --- spontaneously booed Pence as he entered the theater. Others cheered). Public officials have given up a certain right to privacy, especially when they appear among their constituents, so I have no problem with a prominent person being singled out for a publicly delivered message.

If an artist has accepted a private engagement, similarly, they have accepted employment and owe a standard of conduct to their employer which includes a responsibility to offer their best to the audience, even if it includes individuals who they disagree with or cannot support. It would be inappropriate in this circumstance to voice privately held political opinions uninvited.

On the other hand, if an artist is self-producing an event, whether or not it is open to the public, they have a right to conduct themselves as they see fit (but are not free from the consequences of that conduct, especially if it's ill-considered).

Last but not least, it's futile and silly to insist that artists remain politically neutral. Have you MET us? Have you SEEN art? Art and artists are, by nature, inflammatory. Art is intended to provoke thought, feeling, and reaction. It is historically and by nature controversial and not intended for universal appeal. Artists, by definition, possess and communicate a point of view. We are historically agitators. Art that does not make you think, feel, and react is bad art and its artist has not done his or her job.

And so, my friends, don't expect artists to sit out the next four years, or eight years, or hundred years, quietly. Don't expect us to put on cute hats, dance to the organ grinder's music, and rattle tin cups at you before we are led tamely away. You may not always like us or approve of us, but my dears, one thing you can count on --- you are going to hear from us.

It's what we do.

*Thanks to photographer and Austin Opera supertitles coordinator David Grant for directing me to this line of investigation!

12/19/2016

And in despair I bowed my head;"There is no peace on earth," I said; For hate is strong, And mocks the song Of peace on earth, good-will to men!

Then pealed the bells more loud and deep:"God is not dead, nor doth He sleep; The Wrong shall fail, The Right prevail, With peace on earth, good-will to men."

Christmas Bells, by Henry Wadsworth Longfellowon which the carol "I heard the bells on Christmas day" is based

Today, while American democracy was being strangled by the very institution put in place to protect it, the Russian ambassador was murdered in Turkey; in what is apparently a terrorist attack, nine people were murdered in Berlin and many more injured; a gunman wounded three people in a Swiss mosque; and in Aleppo, civilians suffer horrendously and die, caught in the crossfire of a long and ugly war. These are dark days and they are only going to get darker.

Still wounded and in shock over the November election and by the gleeful arrangements being made for the rape and pillage of our country and our people --- happily aided and abetted by many of our friends, neighbors, and even loved ones --- liberals and progressives are understandably stunned, depressed, and sick. And we all have days that are really, really bad. Just a few days ago, I woke up in the very early morning hours from a mere two hours of sleep thinking, “Trump. Trump. Trump.” Last week, I had one of those days where I just cried on and off all day, whenever my mind wasn’t completely occupied and sometimes even when it was. I had some very bad days, but I also had some good days, and friends, that’s just how it’s going to be for all of us for a while. If you’re having a bad day, reach out. And if you see someone struggling, be a friend. Prop them up. Remind them that there are still good people in this world and we are going to stick together and we are going to take care of each other. Then do that. Take care of them.

On social media today, so many of my friends are hurting, terrified, despairing. And although I I should probably feel a great deal more despair than I do right now, today I am strong. Today I am holding out my arms to you and I have room to hug you all. Today, I have love and comfort and a message of hope for all of you.

And here’s why.

Today, I spent the better part of the day at a rally at my state capital, holding up a sign that had terrifying photos of Putin and Trump and read “Electors, take care who you PUTIN the White House. REJECT the President Elect!” and on the other side, a picture of Alexander Hamilton and the words, “Electors, save our democracy! Dump Trump!”. Chanting things like, “We need a leader, not a hateful Tweeter” and “Defend our democracy”. Singing America the Beautiful and We Shall Overcome and Ain’t Gonna Let Nobody Turn Me Around.

One of the speakers said to us, “The evil don’t care about the truth; they don’t care about hurting others to get what they want; they don’t care about spreading news from spurious sources; they don’t care about looking at one tiny corner of the picture and using that to build policy; they don’t care about destroying the earth; they don’t care about racism, sexism, and homophobia. And that makes our job harder, because we do care, and we are going to take the high road. We have to be nonviolent. We have to stand in the truth.”

And that’s why I went.

I didn't go because I believed the electors' minds would be changed. I nurtured a very small, cautious hope; but I didn’t believe in the miracle. I went because I believe it is important for our dissident voices to be heard, for us to remind the world that Donald Trump did NOT receive a mandate, and that it is CRITICAL for us to fight, resist, obstruct bad policy and bad law and generally kick up the biggest fuss we can manage. I went because since November 9, I have been floating around in the same miasma of misery, fear, frustration, and grief as the rest of you; and though I’ve read many articles and signed many petitions and made many plans, I could find no focus for the activism it is now my duty as a patriotic American to undertake.

I went to stand in the truth.

At the rally, I found myself being interviewed by a news station from Dallas, by a journalist with kind, sad eyes. My friend Keenan and I lifted our strong voices with enthusiasm when the folk guitarists played and sang old protest songs. When the young organizers of the rally asked for volunteers to stand up and speak, I did, and I led the crowd in singing America the Beautiful. Afterwards, many people thanked me, and the guitarists came up to chat, and I discovered what one of my areas of service might be.

Folks, they need us musicians at these rallies. They need us to show up with our instruments, our voices, and silly little classroom percussion noisemakers. They need us to lead songs and to support the songleaders with our strong, sure voices. They need us to rev up the crowds. Actors, singers, public speakers --- they need those of us who know how to work a crowd to stand up, speak, keep the energy and purpose and enthusiasm high. Before I left, I had exchanged contact info with the other musicians and promised to help bring more of us to the next event.

My friends, I know you are beyond sad, and scared, and heartsick. But I leave you with this thought: ACTION is the ANTIDOTE to despair. Get off social media, get away from the screens, get out of the house. Go out among the people until you find the action that calls to you, and then take it. Get involved.

We are noisemakers, friends --- let’s get out there and make some noise.

11/05/2016

If you have the chutzpah to ask an artist to work for exposure (see also: "free"; "experience"; "no pay but we'll feed you a dry chicken breast and some green beans out of a can that have been sprinkled with almonds to make them look fancy"), be prepared to be answered with scorn, ridicule, and possibly a few obscene gestures. Asking artists to work for nothing but the nebulous promise of "exposure" may be a time-honored tradition, but it's one whose time has come and gone, especially in this economy when it's harder and harder for artists to provide that which everyone seems to want and no one wants to pay for. If we artists had a real paycheck for every time we've been asked to work for "exposure", we might be able to afford a few luxuries in life, like paying off our student loans, buying health insurance, or paying the heating bill.

What's the big deal, besides the fact that professionals should be paid for their work and there is no other profession in which the workers are so frequently and regularly asked to work for no money as a matter of course? Well, several things. It devalues art as a whole. It drives talented people out of the business and encourages dilettantes to take their place. It makes for bad art.

It removes beauty from the world. And if you don't think that's important, spend a week without listening to music, reading a book or newspaper, watching TV, going to a store. In fact, you'll basically have to go into solitary confinement, because art is so entrenched in your daily life that you can't NOT consume it. And the people who made it do not work for "exposure".

"Exposure" is always nebulous, never defined. What you mean by it is, maybe someone important will just happen to come in contact with the artist's work and they'll get their big break. You're saying, maybe someone ELSE will eventually pay you. Not me. God no, not me. Let's be real here, shall we? Asking an artist to work for free is a dick move. If you do it, you are a cheapskate and a mooch who preys on the dreams of others.

But here's the good news: there's a way to meet your project's bottom line, get art, and not be a dick. Artists are incredibly generous people, and they want to give back to their communities. They also want to eat and pay their bills. So help them out. Even if you really can't pay money, there is a right and wrong way to ask for donations. Asking artists to work for laughable, pathetic, rude "exposure" is the wrong way.

Here's how to do it right.

If you are asking an artist to work for no money, you need to offer other forms of compensation. (Pro tip: a shitty meal doesn't count). Here are some possibilities.

Publicize that artist in concrete ways, and do it big.

Include the artist's name, photo, website URL, and a short blurb in your newsletter, on your website, social media, email blasts, and on all publicity surrounding the event. Prominently.

Include the artist's name in any media ads.

If you have a program for the event, the artist's photo and bio should be included, along with a printed thank you.

If you don't have a program, there should be a placard on an easel with the artist's photo, name, and URL.

You should publicly thank the artist at the event and mention that they are available for hire and how to get in touch with them. Speak to the artist before hand and find out how they like to be publicized. Do it just the way they ask.

You should publicize the artist's upcoming events to your membership.

Offer access to your membership or audience.

Share your mailing list with the artist.

If you don't want to share your mailing list, offer to include advertisements/notices from the artist in X number of future mailings.

Take the time to discover the artist's ongoing needs and introduce them to members of your organization who might be able to help them.

Offer free access to your space.

If you have a dedicated space you regularly use, such as a church building, museum, office building with lobby, or restaurant, you should offer to make that space available to the artist free of charge at a mutually agreeable time, so the artist can do a concert, have a showing, etc.

Offer free services.

If you have no problem asking someone else to work for free, you should have no problem working for free yourself or asking your members to do it. What does your organization or its members do that you could do for the artist?

A few ideas for things you could offer: printing services; temporary use of office space; financial or legal advising; graphic design services; web hosting and design; temporary housing in a city the artist is traveling to for work; health care; donated frequent flier miles.

Ask yourself what you would need if you were running a small startup. Look around at your organization and your membership. What can you offer?

Offer support.

Promise to make sure X number of people from your organization buy tickets to the artist's upcoming event. You like them well enough to have them be part of your event, you should like them well enough to attend theirs.

Ask your members to like the artist's Facebook page, follow them on Twitter and Instagram, and subscribe to their mailing list.

Ask the artist what they need.

If nothing else, ask the artist what you could do for them in lieu of actual dollars.

And moving forward: make art a line item in your budget. Include it in your fundraising. Ask a donor for a specific contribution so you can pay an artist for your next event.

If you like art, respect it, and respect the artist. You may not be able to pay, but you can most certainly compensate.

10/24/2016

Stages and rehearsals are dangerous places. Even when all the proper safety precautions are in place, even when you've had appropriate fight training and have been professionally instructed in how to handle a sword or gun or how to strike a colleague without hurting them, even when everyone is well-intentioned and paying attention, injuries can happen. And we all know that what with cost-cutting measures and sometimes inexperienced or careless colleagues, performers don't always get the best case scenario.

I've been injured on set myself, and the process of dealing with it isn't fun. When you're by yourself, on the road, and may or may not have the support of the company, it's easy to get overwhelmed. Sometimes smaller companies don't have procedures in place for handling injuries. And if you're just starting out in the business, you may not know what to do. So here's a handy-dandy guide to managing injuries while you're working in the theater.

GET SAFE

This may seem like a no-brainer, but people can get very flustered during emergencies, and if you're the injured party, you may not be thinking straight at the moment. The priority is always to make sure the threat is over or that you are removed from it, and that you are safe.

GET AN ALLY

It will be very helpful to have an ally such as a colleague, your union rep, or a family member to help walk you through some of these things when you're incapacitated or not at your best. But if you are on your own --- don't let anyone rush you into any decisions. Take your time. Ask to see things in writing.

GET TREATMENT

Again, basic; but even if you aren't seriously or obviously hurt, now is not the time to play tough guy. Don't worry about stopping rehearsal for a few minutes. Of course, if you're hurt during a performance, you'll want to play it out in character if possible and seek help when you get offstage. But don't be a hero. If you're really hurt or in danger of exacerbating an injury, the stage manager may need to ring down the curtain. (Don't worry about impacting the performance. Audiences love this kind of real-life drama and the resulting publicity will give the company a boost, too).

Take your time, check yourself out, and make sure the stage manager or someone from the company is standing right there with you. Ask for what you need. See a doctor if you need to, and do so right away. Go to an urgent care center if necessary. Better to be reassured that you're okay, and receive treatment for a minor injury, than to try to tough it out; exacerbate your injury, and have it turn into something major or chronic. The full extent of many injuries aren't known until days, weeks, or months later; so get checked out right away to catch any potential problems before they're exacerbated by time or neglect.

If you are seriously hurt, let them take you to the hospital ASAP and don't worry about paying for it --- you're going to file for worker's compensation and that should take care of it. That's another reason to see a doctor --- you want to get that medical file started and on record as quickly as possible.

FILE AN ACCIDENT REPORT

A couple of years ago, while rehearsing for Pirates of Penzance at Portland Opera, yours truly fell on her butt while rehearsing some swordplay. My ample natural padding saved me from any harm and I even managed not to poke my eye out with the sword; the only damage was to my ego. But Stage Manager of My Dreams Jennifer Hammontree was handing me an accident report before I even got back to my feet.

In a professionally run company, with a competent stage manager, the very first thing that happens after ascertaining that the injured performer doesn't need to go to the emergency room and is basically okay, is that the stage manager should come to you with an accident report. Certainly this will happen in AGMA or Equity companies; but sometimes in small regional houses, you will have to ask or even insist.

If no one from the company will take an accident report, document it yourself immediately. Write down what happened, including where you were, what you were wearing, what you were doing, who else was present, how the injury occurred and who (if anyone) was involved; what you did immediately following the injury; who you spoke to about it and what you said; what treatment you sought; how the injury and treatment have progressed. If you tried to file an accident report and were denied, document that.

TALK TO YOUR UNION REPRESENTATIVE

If you're an AGMA singer at a signatory company, be sure you speak to your shop rep as soon as possible. If they are in the theater, ask for them to come and see you as soon as you're offstage. If they aren't currently in the house, get their contact info and call them at your earliest convenience. They are there to help you and make sure the company does right by you.

FILE FOR WORKMAN'S COMP

Start a workman's compensation claim immediately. Workman's comp can take a long time to process --- and you or your insurance company will be paying up until your claim has been approved and all the paperwork is submitted. Also, there is a statute of limitations on how long you have to claim workman's comp, and this varies wildly from state to state, so file right away. Call the responsible agency in the state in which you are injured (see below for a link) and request to file a claim. The process will vary from state to state, so start your own file and keep all the info together from day one. It will make things easier. Also, if you have an injury that requires surgery or ongoing treatment, realize that many doctors do not want to deal with workman's comp claims --- they are a mess. I got around this by paying for my surgery and other expenses out of pocket or through my own insurance company, and having the state insurance company reimburse me or my company directly. You'll want to talk to your case agent about this and find out what can be done.

Assuming your claim is approved, workman's comp will (eventually) pay for your medical expenses and other expenses incurred in treating your injury (such as travel and hotel if you must go out of town for treatment). If you lose work or have a permanent injury, you will receive some compensation, so it's important to file the paperwork right away. This site gives some additional general information on filing workman's comp and contact info for each state.

PRINT THIS OUT!

When you travel to an engagement, it's always a great idea to have a packet with a copy of your signed contract, a list of your doctors with contact info, medication, and useful information like this how-to article, or a list of easily accessible links to the knowledge you need. That way, if you find yourself in an unpleasant situation, you'll make it easier on yourself by being prepared with pertinent info at your fingertips.

09/08/2016

The opera world has a (not entirely undeserved) reputation for being rough. It's a difficult, mean business and we readily eat the unprepared, the thin-skinned, and the naive. We have our share of power-mad authority figures, charlatans, sadists, and jerks. And yet, those people are outnumbered by a population of amazing, kind, generous, and caring individuals. Two different experiences have illustrated this for me in the past few weeks.

The first story is sad but very sweet. In August, parts of Louisiana suffered unexpected and major flooding --- areas that do not normally flood were suddenly under six or more feet of water. Entire cities were underwater. People's homes were ruined and all their possessions destroyed. Even now, they are cleaning up --- waterlogged piles of treasured belongings and everyday necessities turned to trash, lining the streets in stacks fifteen feet high, in front of homes still being checked for structural damage.

Imagine losing everything you owned, including your home, all its contents, and even your car. Where do you even start?

Louisianans are tough. A more hospitable and gracious bunch of people you will never know. And they take care of their own --- check out the Cajun Navy, a loosely organized group of hunters, fishermen, and regular joes with their own boats who, in the aftermath of Katrina and of the Floods of 2016, didn't wait to be asked or told --- they just went out and started rescuing people, and bringing supplies.

Despite fantasies of loading up the van with goodies and driving down to the affected area, after doing a little research it seemed like donations to the Red Cross and local animal shelters were the best way to support recovery efforts. At least two opera singer families of my acquaintance were directly affected. All I could think was "What if this were my family?"

But it was my family. It was my opera family. And it was time to call for reinforcements from the rest of the gang.

Our opera family came through, like the Cajun Navy. Using a crowdfunding platform, we raised our goal in less than 48 hours and now, two weeks later, the contributions keep trickling in --- we're over $2000 past the original goal, every cent of it going to replace a home and car and the bare necessities of life. Just as important as the money, messages of love and support poured in from every corner of the opera world --- mostly singers, but also conductors, stage directors, designers, orchestra musicians, and even fans. There were even contributions from people who do not personally know the beneficiaries --- their only connection is through opera. If you have ever been in crisis, you know that simply knowing that people care, that they are there, that they see you, is a great comfort and balm.

Forget the stereotype of the snooty singer draped in furs and dripping diamonds --- most of us are lucky if we can afford health insurance. And yet, the opera family came through for our own. It's not the first time I've seen it, and I know it won't be the last. But next time this hard-knock business gets you down, just remember --- the same business is filled with people with hearts as big as their considerable talent.

Story Number Two- much more lighthearted, and, dare I say, silly --- mostly on my part.

For many people, packing is the worst part of traveling; but since singers travel a lot, you'd think we'd have it down to a science. My personal and dearly cherished fantasy is to own a travel wardrobe of separates that are comfy, need no ironing or special care, always fit, work alone or layered, can be dressed up or down, and are suitable for a wide variety of seasons and locales --- a wardrobe that would live in its suitcase, so all I would have to do is throw in some toiletries and my laptop cord, and I'd be ready to go.

Alas, I have yet to discover such a unicorn, and am resigned to packing and repacking, sometimes before I have a chance to put away the suitcase. As a big fan of lists, I scrupulously plan and coordinate every outfit and am pretty good at packing light. But on my most recent trip to New York, my packing ended up being a bit lighter than intended.

My most important outfit --- the one carefully chosen for the big event of the trip, the video shoot; the one hung up next to the suitcase complete with accessories so it could be put in last --- did not make it into the suitcase at all. I discovered this on arrival at 9:00 p.m. , with a hair and makeup appointment scheduled twelve hours away and my recording time set at noon.

There was nothing else in my suitcase suitable to wear. What's a diva to do?

Hit up FaceBook, of course. Specifically, the Opera Diva Dress Collection group, which came to the rescue with great alacrity and support. Within minutes of posting, I had multiple offers of dresses that these ladies were willing to lend, and suggestions for places to shop, designer friends who might have something in stock, and styling advice. My dear friend and colleague, the amazing mezzo Janna Baty, offered to hand deliver some of her own jewelry for me to try! Then founder Suzanne Vinnik-Richards stepped in and offered to SHOP FOR ME.

So, I emailed my wonderful makeup artist, Bridie Coughlan, and asked her to come earlier; texted my wonderful agent and asked if I could switch with someone and go later (thank you Sharin Apostolou) and got what little sleep I could manage after such excitement. Suzanne and I were texting madly back and forth all morning as I sent her pics of what I had with me that we might be able to build from, and she sent pics of articles of clothing she was finding. Once my hair and makeup were done, I raced to Macy's to hedge my bet, and then hurried downtown.

We met up in the bathroom at Opera America - HI HO THE GLAMOUROUS LIFE, Y'ALL - and put together an outfit from stuff I had and stuff Suzanne brought.

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Being styled by the beautiful Suzanne Vinnik-Richards in the bathroom at Opera America - LIKE A DIVA DO.

I ended up with a great outfit (especially the bling!) which was perhaps a little more casual than the one I'd planned, but it still looked great and was very "me". I felt great and got several videos both my managers and I were very happy with (see below).

But the best part of the whole experience was how all these divas came together to help a sister out--- from volunteering outfits and offering to change their plans so I could come shop their closets, to cheering me on via FaceBook, to following along! It was an ODDC triumph, and indicative of the kind of community Suzanne and her partner Sarah Duchovny have established -- a great bunch of beautiful divas, full of humor, advice, and kindness.

So thank you, opera family! Our business may be rough and tumble, but people are the heart of any business --- and so ours beats with a heart of gold.

08/20/2016

One of the hardest things to deal with in the artist's lifestyle is the inconsistency we must live with. Budgeting? Not so easy when you don't know exactly how much money you have coming in, month to month.

Longterm plans? Well, go ahead and sign up for that expensive pottery class you've been dying to take, but you know as soon as you make the nonrefundable deposit you're going to get a gig that will take you out of town for five of the seven meetings.

Haven't had a gig in four months? Guess what --- you're about to get three offers for the same time period ... but not all at once so you can make the best choice at your leisure. PS - they'll overlap juuuuuuuusssst enough to make it impossible to take all three.

It seems like the singer's life is always feast or famine, and it's so terribly frustrating. And while most of us have, or develop, strategies for dealing with the busy stretches, the down time is harder to manage. If you're a day jobber, it's easy to begin to feel consumed by your Muggle job and panic that you're losing your singing career. Freelancers have a similar concern, but without the money coming in. So what do you do when you have a long gap between gigs? How do you stay in the game?

1. Give yourself some time off.

If you've been working a long string of gigs, you not only deserve some downtime, you need it. Take a little time off from singing and more importantly, from the business, to relax and recharge. Artists need unscheduled time; they need time to loaf, and sometimes they need more than other people think they should. But what looks to a civilian like lying on the couch bingewatching Scandal and Game of Thrones might actually be you letting your busy brain go so the subconcious can churn out some new ideas. You know, create. So take your time --- but don't take too much, lest a couple of weeks of well-earned sloth turns into a couple of months and a butt permanently tattooed with the pattern of your couch. The point is to let your batteries recharge, not to lose all energy and die.

2. Make a plans and a schedule.

If you've got another gig on the horizon, no matter how distant, then you know how much time you have to fill. Once the vacay is over, get out your calendar and make a plan. What NEEDS to get done? Give yourself deadlines. And give yourself a daily schedule, too. Give yourself a regular work day and regular time off. Then stick to it! You will feel better if you're productive and you'll have something to show for your "time off". It's win-win!

3. Spruce up.

You finally have the time, so take a good look at your portfolio and see what needs to be refreshed. Think of your resume, bio, headshot, website, etc. as your storefront --- these things represent you digitally and on paper to potential employers. Just as brick-and-mortar stores change window displays and rearrange their goods to keep consumers interested, we artists need to keep our offerings fresh. You may want to do a complete re-branding, or just change things up a bit. Add some new sound clips and videos. If you don't have a YouTube channel, maybe it's time to work one up. Put up those new production shots you've been neglecting, or maybe it's time for new headshots? Re-do your website (it's easy with free or cheap services like Strikingly and Squarespace).

Of course, all this stuff is just icing on the cake --- the real sprucing up should happen in your repertoire and vocal technique. Maybe it's time to learn some new audition arias, new ornaments for your older pieces, or new roles. Maybe it's time to revisit what's working for you and what's not -- get rid of that aria your college voice teacher always insisted you sing that no one, NO ONE ever asks for in auditions. There's a reason why they don't. Find something better. Coach your stuff dramatically as well as musically. You'll be glad you did when the next audition or gig rolls around. Plus, you'll be busy --- you know --- being an ARTIST.

4. Create projects for yourself.

Whether your time off is open-ended or there are gigs on the horizon, now is the perfect time to develop as an entrepreneurial artist and create some projects for yourself --- projects that could make you money, expand your network of professional relationships, or give you experience you need. Schedule that recital or recording project. Start that 501 (c)3. Research and write some grants. Turn that new role you're learning into a concert performance with piano and a bunch of your friends. Get in touch with your alma mater (college and high school) about coming back to give a master class. Put together that caroling group you've been meaning to start in your area. Be creative and be prepared to work. As freelancers, the a never-ending cycle of research and learning new material simply comes with the territory. But also plan to get good value for that work. Monetize it if you can ... and don't forget to make it fun, and to do it on your own terms.

5. Focus on your health.

Life on the road can be very stressful and offer many temptations --- late night snacks and drinks with your colleagues, a few too many meals out, fancy parties. Once you've decompressed, it's a great time to get back to a healthy eating plan and regular workouts. Also, now is the time to take care of all the doctor appointments you probably missed while traveling!

6 Keep in touch...

One of the worst things about being on a hiatus is the feeling that your career is passing you by, that other people are out there working and advancing and YOU AREN'T. Make sure you keep in touch with friends, colleagues, conductors, stage directors, agents, supporters, and any other people of influence ... in short, just about everybody. Work your connections, and don't forget to network with new people. Now is a great time to volunteer with arts organizations, attend all those local concerts you never get to go to, and generally make sure your name is staying out there. You don't need to do anything fancy. Drop people a little email, post on their timeline, or go old school and pick up the phone. And don't be afraid to let people know you're looking to pick up some gigs.

7... But limit your social media time.

Social media has many advantages, but one of the big disadvantages is that it can give you a false picture of the world around you. It can be like the dreaded Christmas newsletter --- all year round. Photos of your friends enjoying fantastic vacations and posing with that conductor you'd give your eyeteeth to sing with, shares of their latest reviews and adventures while on gigs, posts from your agency celebrating the triumphs of singers on the roster who are not you ... all of this can quickly get overwhelming and depressing. So limit your consumption of social media and remind yourself that 1. it's a tool and 2. what you see there is the pretty, shiny tip of a very large, complicated, not-so-pretty iceberg. And if you find yourself getting sad over it ... SIGN OFF>

8. Educate yourself.

Now would be a great time to finish that degree, brush up on your languages, or take that pottery class! Plus, classes get you out of the house and into a fresh social environment. New possibilities for friendship and networking, new ideas, and a break from the cloistered world of singing --- all while you're learning and maybe even adding to your value as an artist. What's not to love?

9. Clean house --- literally and figuratively.

The so-called public areas of my home are usually pretty neat and clean, a junk drawer here and there notwithstanding. But my office and the corner of my bedroom on my side of the bed both accumulate clutter which must be periodically excavated (and nine times out of ten, I can't remember what I was keeping it for. And let's not even talk about the bathroom closet). Problem is, I have to be in the mood to de-clutter. And that mood never comes along when I'm busy or tired. I need mental space to gear up for the daunting task of making so many minute decisions of what to DO with this thing and then actually doing it. So, long stretches at home are the PERFECT for launching an attack on my clutter corners.

De-cluttering can happen in small, bite-sized chunks. You can attack one area or part of an area several times a week, or declare one day the great date for Operation Office Excavation. The point is, get'er done.

De-cluttering works for the digital areas of your life, too. Use this time to put some systems in place. Organize your receipts and check out some apps that help you save and invest. Get your social media accounts linked up so you can publicize your projects easily. Work out some filters for your email. When you head out on the road next, you'll not only have found your favorite t-shirt that you thought you left in a hotel room in Kansas and have your finances in order for tax day, but you'll have a clean house and less headache to come home to.

10. Keep the self-talk positive.

Look, this is going to be a challenging time, no way around it. There are going to be times when you feel down and forgotten, when the words "you're never going to work again!" will scroll across the marquee of your brain in many horrible variations. But you don't have to buy into it. Remind yourself that you have worked in the past and you will work again. Remind yourself of all the things you're doing to keep yourself in the game. Remind yourself that this life is hard, this business is hard, and times is hard for the business. You're doing well simply by persisting. Keep developing your artistry and your personal singing business, and you will work again.

Singers gotta sing. It's a fact. It's also a fact that the professional lives of artists rarely follow a smooth and straight path. More than ever, these days, artists must be entrepreneurial. If you take the time to develop multiple income streams, it will help you financially, professionally, and mentally when the big gigs hit a dry season, especially if some of those streams scratch your artistic itch. It's a great idea to think ahead about those things, too. Plan for that dry season. Then spend it getting ready to make it rain again.